In this thesis, I have presented my translation of the novella Rakushō no goku (落照の獄) by Ono Fuyumi, preceded by a critical introduction. In this introduction, I have provided brief biographical information about the author, context for the story and its place in the Twelve Kingdoms series of novels, an analysis of the story's use of the death penalty as allegory, and an explanation for some of my choices in the translation. In my introduction, my main purpose was to present the author, who has written multiple best-selling, award-winning novels that have received both popular and critical acclaim, yet has received little notice abroad and even less scholarly attention both in and out of Japan, as a writer meriting further study. To this end, I have used my own translation of Rakushō no goku as a primary example of the depth and value of her work, presenting my reading of the conflict in Rakushō no goku as an oblique criticism of the death penalty in Japan, and attempting to tie the story into a longstanding literary tradition of using the fantastic as allegory in order to comment on and critique contemporary culture.

This thesis examines the use of folklore and the folkloresque in Haruki Murakami’s novel Hitsuji wo meguru bōken, or, as it is translated by Alfred Birnbaum, A Wild Sheep Chase. Murakami blends together Japanese and Western folklore to present a Japan that has been colonized by a post-national, global capitalistic force. At the same time, Murakami presents a strategy to resist this colonizing force by placing agency onto the individual and suggesting that it is still possible to craft a meaningful identity within the Japanese/Western blended, globalized society in which these individuals now exist. Alongside examining the use of folklore in this novel, issues of translation are also considered by comparing Murakami’s original Japanese text to Birnbaum’s English translation. The fields of folkloristics and translation studies inform this comparison, and a new way to discuss translations (especially those that come from a text in which folklore is central) is developed. These two major threads are pulled together in an analysis of Murakami’s role as a multinational writer. His blending of multiple cultural references and languages make his message on constructing an identity from a globalized culture more accessible to those outside of Japan; rather than focusing on what is lost in Birnbaum’s translation, this thesis uses a folkloristic perspective on translation studies and explores how Birnbaum expands upon Murakami’s process.

Steeped in tradition for over a thousand years, bathing culture in Japan remains relevant due to the preservation of the traditional, innovative modernization of existing bathing structures, and the diversification therein. This thesis will examine the significance of bathing culture, focusing largely on onsen and sento, account for its historical evolution, analyze how it functions in modern society and forecast its future viability. More specifically, the concept that Japan's vibrant bathing culture was able to flourish due to mythological creation stories, politically motivated access to baths, propagated therapeutic value, and scientific reinforcement of the benefits of a hot bath will be explored.

The Go-Tsuchimikado Shinkan-bon ~ Izumi Shikibu Shū is a 15th century manuscript of 150 poems by the 10th/11th century poet, Izumi Shikibu. This thesis includes translations for all 150 poems with detailed translation notes and an examination of the arrangement of the poems. It seems likely that the Shinkan-bon would have been organized in a sequence that links poems together in such a way as to create a larger poetical work for the collection as a whole. Sequences are developed through a natural progression of temporal and spatial elements in the poems, as well as connections through mood, theme, imagery, associations, and the repetition of words. This method of anthology arrangement had been common in Japanese literature for hundreds of years prior to the assumed date of creation for the Shinkan-bon in the early 13th century. Three sections of the Shinkan-bon were examined in this thesis to determine if there was continuity between the poems. The first section is made up of the first twenty-five seasonal poems, running from spring to winter. This section does show continuity between some of the poems but does not contain an over-all sequence. The second section is made up of fifteen poems in the middle of the collection and the third section is made up of the final ten poems in the Shinkan-bon. There is no sequencing in the second and third sections, and thus it can be determined that the Shinkan-bon collection has no sequential significance to its order, and that the poems are organized by another method.

In the late 18th century an artist named Torii Kiyotsune 鳥居清経inherited and mastered a style of ukiyo-e that was soon to go out of fashion. Few of his prints survived and he left little impression on Japanese art history, despite his association with such a prominent school as the Torii. Yet the very association may have contributed to his obscurity. The assumption that Kiyotsune was primarily an ukiyo-e artist led to the overshadowing of his work in another arena, popular books known as kusazōshi. In fact he was quite prolific in that medium, illustrating over 130 kibyōshi, as well as works in other genres. Analysis of one of his kibyōshi, Kaminari no hesokuigane 雷之臍喰金, shows that there is still much to be learned about him and his contributions to early modern Japanese visual culture. Through an analysis of Kaminari no hesokuigane this thesis also explores the unique set of characteristics that distinguishes kibyôshi from other forms of visual-verbal narratives such as comics or illustrated books. Moreover it argues that, despite their having served as cheap, disposable fiction in their time, kibyōshi can serve as an informative lens through which to examine how the ordinary inhabitants of Edo identified with their city, creating a culture of their own and developing the Edokko type that has survived into the modern era.

Task-based language teaching has received increasing attention in second language acquisition research over the past decade (Révész, 2007). However, the target form comprises conveyance of meaning in task-based classroom to some degree. In the area of Chinese acquisition as a second language the role of recasts and explicit feedback has not been the subject of much investigation, as two types of technique to compensate learners’ attention on form. Few empirical studies have explored their short-term and long-term effects on Chinese language acquisition in task-based classroom. To test the conclusions of some research about corrective feedback in the area of SLA, the present study examined the effects of these two techniques respectively. The study employed an immediate-test and posttest design. The participants were 53 adult, beginning level Chinese language learners who study Chinese as a second language, naturally assigned to one of the two comparison groups and a control group. The comparison groups differed as to whether they received recasts or explicit feedback while completing communicative tasks. The control group also practiced the tasks; however, they received neither recasts nor explicit feedback from their instructors in the process and they participated in the testing sessions. Results analysis of collected data yielded three main findings. First, learners receiving explicit feedback immediately outperformed those who received recasts for certain structures. Second, learners receiving explicit feedback sometimes yielded some long-term advantages over those who did not receive any feedback, followed by the recast group even after a period of time. Third, the performance of the participants varied according to the complexity of the target forms. The results imply that explicit feedback and recasts can facilitate the production of certain target language forms in beginning Chinese communicative class. The effects of explicit feedback and recasts depend on the chosen forms. It is congruent with Long’s (1998) and Ellis’s (2007) speculation that the roles of various feedbacks differ according to different linguistic features. It also provides further evidence for Leeman’s (2000) conclusion that recasts may be differentially effective when the learnabililty of the target linguistic feature vary. Finally, the findings lend some support to the insight derived from Long that focus-on-form should be integrated into task-based language teaching (Long, 1996, 2000; Long & Robinson, 1998).

There are four major patterns of the plural forms of personal pronouns in Modern Chinese, which are: Same Wording, Suffixation (Multisyllabic and Monosyllabic Suffixations), Sound Combination (Coda Suffix and New Wording), and Tonal Changes. Same Wording was the original plural pattern since the singular form was also used as plural form in Old Chinese. Suffixation was already appeared in Middle Chinese. Author suspects that Suffixation was a concept inspired by non-Han languages such as the Buddhist Sanskrit. Each Chinese dialect chose a way to represent this concept based on its dialectal characteristic, thus there are many dialects in China. For example, the [men] suffix in many northern dialects are phonologically and semantically related to the Tang dynasty suffixes, while the m- initial might has been originated in Tang dynasty dialects, the -n ending might be a result of Altaic language influences. Northern dialects have a simpler pattern due to the influence of Altaic languages, in comparison, the plural pattern of southern dialects are more complex due to the contact with Miao, Yao, Zhuang languages.

The Heyang dialect has many distinct phonological features, which make it quite different from its adjacent dialects. The phonological features of the Heyang dialect are systematically studied, and the historical strata are revealed. Diverse historical strata exist in the current system of the Heyang dialect. In the Heyang dialect, there are phonological features which belong to the stratum of the Northwestern dialect during the Tang and Song dynasties. These features include: the Middle Chinese voiced obstruents are all aspitrated; the -ŋ ending is lost in the colloquial readings of Dang (宕) and Geng (梗) rhyme groups; the division III hekou syllables in Zhi (止) and Yu (遇) rhyme groups merge; and the division III and IV hekou finals of Xie (蟹) rhyme group are xiyin. The initials yi (疑) and wei (微) in the Heyang dialect are pronounced the same as they are in the Zhongyuan yinyun. The kaikou contrasted with the hekou finals in Guo (果) rhyme group when they combined with velar and glottal initials, the division I contrasted with division II finals of Xiao (效) rhyme group in the Heyang dialect. Those phonological phenomena belong to the historical stratum of the Zhongyuan yinyun. The Heyang dialect was further compared with the Meixian dialect, a representive of the Hakka dialect group. The two dialects share so many phonological characteristics. The relation between the two dialects is even closer than that between the Heyang dialect and Mandarin, in some essential aspects, which strongly suggests that the Heyang dialect may be rooted from the Zhongyuan dialects during the Tang and Song dynasty.

The end of the Second World War and Japan’s surrender are the established paradigm for understanding postwar Japanese society. The formulation of the new Constitution and the establishment of the postwar democracy mark a major historical turnaround for Japan. Since he debuted as a writer in 1958, Ōe Kenzaburō’s (1935 - ) published literary works are closely related to the postwar history of Japan. Ōe has been an outspoken supporter of the pacifist Constitution and “postwar democracy.” Ōe’s stories about the war are characterized by a realistic depiction at the same time as always narrating his stories in an imaginary world. In his works the past history and the future are intricately combined in the depiction of contemporary society. By doing so, Ōe creates an ambiguous image of contemporary Japan. Ōe’s main question in his early works is the achievement of shutaisei both in postwar Japanese society and Japanese literature. The main protagonists as well as the author protest against the emperor-centered history. They attempt to illustrate another history from their own viewpoint.

This paper addresses the issues inherent in comics translation, with specific regard to the translation of Japanese manga into English. In North America, the norms of manga translation have undergone several radical shifts in the past few decades, with strong preference being shown alternately for domesticating and foreignizing translations. Such paradigm shifts suggest differences between readerships, which have a strong influence on translators’ and publishers’ decisions. This understanding of the current translation situation then provides the backdrop for a novel method of translation that is centered around an initial textual analysis, which is itself rooted in a form-focused understanding of the comics medium. This understanding of the medium also sheds light on some of the translation issues specific to the Japanese context, particularly those of flopping and treatment of onomatopoeia. At all points in the translation process, the translator must keep in mind that comics is a medium that utilizes multiple overlapping, intertwining sign-systems, which can only be translated effectively when considered in relation to one another. The paper concludes with two short manga translations, which represent the culmination of these ideas.